A set of original and folk stories in Michel Ocelot's on-off lifetime work of silhouette animation fairy tales take their inspiration from, among others, Caribbean, Meso-American, Russian and Tibetan culture.
In the kingdom of animals, Master Fox is used to trick and fool everyone. So the King, the Lion, receives more and more complaints about him. He orders that Master Fox is arrested and ... See full summary »
Natanaël, seven, still doesn't know how to read. His eccentric old aunt bequeaths her house to his parents and her book collection to the young boy. Nat discovers that the books serve as a ... See full summary »
The plot of the film has a grandfather telling his grand kids the story of Maki, a young boy who escapes from slave traders, befriends a giraffe (the title character), cross the desert, ... See full summary »
Max Renaudin Pratt,
In a little village somewhere in Africa, a boy named Kirikou is born. But he's not a normal boy, because he knows what he wants very well. Also he already can speak and walk. His mother tells him how an evil sorceress has dried up their spring and devoured all males of the village except of one. Hence little Kirikou decides, he will accompany the last warrior to the sorceress. Due to his intrepidity he may be the last hope of the village. Written by
Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>
[Michel Ocelot] had first envisioned Kirikou and the Sorceress (1998) as a silhouette animation (the medium he had been working in since 1988's We Are the Star (1988)) and wrote the initial version of the screenplay with this manner of presentation in mind. Karaba's "breast jewelry" emerged during this phase as a device to prevent her having the appearance of having only one breast when her torso was turned to a three-quarter view but was retained despite the changeover to full color. See more »
I don't want to marry anyone. Witch or not, I will never be somebody's servant.
If you were my wife, you would never be my servant.
That's what all men say before marriage.
I'm not like all men.
That's true, little Kirikou. One day, you'll say all of that to a nice little girl.
I don't like little girls.
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I've always had this idea that popcorn and Coke were added to fill a void that most film storylines leave untouched. That such a void can filled at all, simply by bloating out stomachs with toasted corn and carbonated sugar water, is a subject that might well be worth entering into, another day. "Kirikou et la sorcière" has the spartan charm of so many stories and fables from Africa. It is as if the scarcity of food and water that illustrated in this story - as in so many like it - had, in turn, to be compensated by making the fable rich in wondrous colourful fantasy and highly nourishing in details that describe the frequently comical and pathetic side to human behaviour. The travesty I see is that, while this film is available in German, French and Spanish, puritans in countries like the US and the UK have, once again, determined that - in an effort at sparing depraved censors the discomfort of twitching at the sight of happily naked village kids and their semi naked mothers - my children shall not be allowed to learn about life in cultures other than their own, nor to hear lessons of great wisdom but may, instead, freely view animated violence and large doses of their own recycled high school yarns. Cannibalise cartoon & eat Pokemon!
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